The Half-Whole diminished scale is one of a larger class of 8 tone scales known generically as BeBop scales. It is actually a mode of the Diminished scale, and owing to its construction and the fact that it has 8 tones, it actually repeats its pattern every 2 steps, meaning that it can serve as multiple modes for the parent scale. In this case it is modes II, IV, VI and VIII, whilst the parent scale (The Whole-Half diminished) serves as the other modes.

This scale is used a lot in Jazz, and plays well over a range of diminished chords. The Half-whole scale is commonly used over a Dominant chord too, and while this seems like a strange choice (m7b5 chords should suit it better) it yields some altered tones that jazzers like.

If you don't like to listen to jazz, Stravinsky is probably the most accessible "classical" composer to use it - and he uses it a lot First composer to use it in western music was probably Liszt, although Rimsky-Korsakov claimed to have discovered it (he used it later than Liszt, though). So, it's also been known as the "Rimsky-Korsakov-scale".

Other than that, I know some metal bands have made use of it, but I'm not really a metal head, so don't ask me who

If you don't like to listen to jazz, Stravinsky is probably the most accessible "classical" composer to use it - and he uses it a lot First composer to use it in western music was probably Liszt, although Rimsky-Korsakov claimed to have discovered it (he used it later than Liszt, though). So, it's also been known as the "Rimsky-Korsakov-scale".

Other than that, I know some metal bands have made use of it, but I'm not really a metal head, so don't ask me who

Stravinsky is one of my favorite composers, so I'll enjoy trying to sp[ot this scale in one of his movements. Thanks for the insight I have to say that I'll have to get used to the eight tones, most scales ive memorised have only seven intervals, so this will definitely be an interesting change of pace.

Haven't heard a lot of Shawn's music, but in that video, pretty much. He was playing diminished chords in arpeggios (i.e., 3 semitones = 3 frets between each note), and "stacking them", so that we have, for example:

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Edim - E G BbBbdim - Bb Db E

... then start over from "the new E". Or, in other terms, he's playing the notes of the chord Edim7 (E G Bb Db)

Then when he expanded it to "outside type playing", moving this pattern chromatically, if he moved it 1 fret up (= 1 semitone), he got:

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Fdim - F Ab BBdim - B D F

... then start over. Or, in other terms, he's playing the notes of the chord Fdim7 (F Ab B D)

If we combine the notes of those two sets of chords:

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E G Bb Db + F Ab B D =

E F G Ab Bb B Db D E

... we have the E half-whole diminished scale (as seen in Andrew's example fretboard above).

To stay in that scale, you'd then move up 2 frets, rather than 1 (to start with a Gdim, rather than an F#dim, which doesn't fit into our E H/W dim scale). Actually, if you did start from the F#dim, you'd have played all the 12 notes in the chromatic scale.

This is what gives these two kinds of scales their "diminished" name - they can be seen as combining the notes of two diminished 7th chords.

But still, it's really playing (broken) chords moreso than melodic material based on the scale, so I'm not totally sure I'd call it playing in a diminished scale. And yet, the sound is more "in that scale" than in any major or minor key.

I just had a jazz lesson about this and there's a couple of things I'd like to share with you guys.

As Andrew mentioned above it's often used over dominant chords, well here's a way to use it.

When using the diminished scale to create phrases it's common to use the Dim7 arpeggio, starting on the dominant 7 of the chord it's played over. So if we're playing over an E7 we would play Ddim7 arpeggios. Since the dim7 arpeggio is pretty funny because of the Ddim7 containing the same notes as the Fdim7, Ab dim7 and Cbb ( dim7 one can also use the dim7 arpeggio of the ninth, major third or the fifth of the dominant chord. I do however like to keep it simple and just refer to the seventh.

In the blues twelve we can play that E7, A7 etc.

Then we would be able to play Ddim7 over the E7 chord and Gdim7 over the A7 chord. If we put these two together, what do you get?

*hint* it's 3 semitones between every note in a dim7 arpeggio.*hint 2* the Gdim7 arpeggio consist of the notes one semitone below the Ddim7 arpeggio

Andrew thank you for starting lesson about half-whole diminished scale.

This is probably most undiscovered scale out there believe it or not.

Rock/Blues/Fusion guys use it over Dominant type chord. For example if your Chord was C7 you would play C half whole diminished scale or C# dim 7 Arpeggio as well as E dim 7 arp , G dim 7 and Bbdim 7 arp. What do you get by doing this? Well you get Dom7 b9 sound without a ROOT!

Bass players mostly play roots so this is why its great to use this arpeggio like this.

I will do series on half whole diminished scale and its application. As I said this is very common and beginner way to use it.

There is more harmonies in this scale and I will just give you a quick hint so your head can start to hurt you from thinking a little bit.

HEre is C half whole diminished scale .

C Db Eb E F# G A Bb C

I spelled some notes enharmonicly so you can see easier what I am talking about.

What are triads that exist in this scale from C note ? Check it out This will blow your mind away

C Eb G = C MINOR C E G = C MAJOR C Eb F#(Gb) = C DIMINISHED !

I discovered this when I was preparing to teach in front of whole auditorium of Berklee professors and show them ONE LESSON that I think is undiscovered and unexplored yet. Thats what I did , presented this amazing discovery for diminished scale (you cant find it in books - if anywhere out there) and everybody was amazed by this.

Wow, that expanded my mind - thanks for the fantastic insights Pedja - that analysis shows what a flexible scale this can be - I love the way you can bring some dry theory to life with your experience!

A request though - Next time you post a funky chord like C7/#11, I would really like it if you posted it like this:

"C7#11 - (Melodic minor mode X)"

please Makes it easier to get track of

Cool kjutteGlad it makes sense

There is difference when you say C7b5 and C7#11 when you think about CHORD SCALE to play over it. As a chord its the same C E F# or Gb and Bb. As a scale if you say C7b5 that means that the scale you play doesn't have a perfect 5th in it. So in that case you couldn't use 4th mode of melodic minor over it (lydian b7) because that scale has both b5 and 5! You would have to use Whole tone scale or Half Whole diminished scale for that because they dont have perfect 5th in them. However if you see C7#11 chord that means that #11 is TENSION so your basic chord sound stays the same C E (g) Bb but you add F# to it. Now thats where 4th mode of melodic minor (lydian b7) really kicks in as it has both #11 and perfect 5th.

There is difference when you say C7b5 and C7#11 when you think about CHORD SCALE to play over it. As a chord its the same C E F# or Gb and Bb. As a scale if you say C7b5 that means that the scale you play doesn't have a perfect 5th in it. So in that case you couldn't use 4th mode of melodic minor over it (lydian b7) because that scale has both b5 and 5! You would have to use Whole tone scale or Half Whole diminished scale for that because they dont have perfect 5th in them. However if you see C7#11 chord that means that #11 is TENSION so your basic chord sound stays the same C E (g) Bb but you add F# to it. Now thats where 4th mode of melodic minor (lydian b7) really kicks in as it has both #11 and perfect 5th.

I know this, my friend. Just easier to keep track of. The X7b5 was harmonic minor, yes? which mode?